It’s no secret that over the last couple of years nearly all of our major museums and galleries have started to recognise the power of video in connecting with and inspiring their audience. Many of these organisations now upload a steady stream of original video content on an almost daily basis in an ongoing quest to keep their audience engaged and excited about the work they do. 

With so much content being uploaded however, it’s almost inevitable that many videos sink without trace, so it’s becoming increasingly important to create work that can really stand out and engage with an audience on a much deeper level.

In this blog we’re going to look at a current series of videos that have been incredibly effective in connecting with a wide audience and try to understand just what makes them so successful.

MoMA – How To Paint Like…

MoMA produce a fabulously wide range of videos, from live streamed artist’s talks to behind the scenes footage and more quirky pieces such as ‘How to tell if an abstract photo is vertical or horizontal’, but today we’re going to focus on Corey D’Augustine’s hugely successful ‘How to Paint Like…’ series of videos.

Keep it simple

The basic concept behind the series is simple and self explanatory, (the best ones often are) but more importantly appeals to several different audiences.

Whilst on the one hand the aspiring artist can pick up ideas and techniques that they can apply to their own work, the art history buff can also learn about the working practises and methods of an iconic talent.

If you can come up with a concept that can appeal to different demographics in this way you’re always going to be in with a shot at racking up those all important viewing figures.

Short isn’t always sweeter

kusamaOften we hear about the importance of keeping content short, ‘viewers have short attentions spans these days’ etc, but these videos are proof that engaging, imaginative content will find a receptive and eager audience.

With an average episode length of around twenty minutes, D’Augustine gets the opportunity to go into great detail on his subject. As such the finished videos have much more depth than you might find in a traditional ‘How to…’ video, and goes some way to explaining why these videos are so popular.

A recent episode on Yayoi Kusama has already received over half a million views in 6 weeks of being published.

Expert appeal

A big part of the show’s appeal comes from its host. D’Augustine is always insightful and speaks with real authority on his subjects, which is unsurprising when you consider he also teaches at MoMA.

There’s another great lesson here in using the resources that already lie within your organisation to produce content that really gets to the heart of what you do. There are few things more engaging with this type of content than having the opportunity to learn from an expert in a particular field and seeing them speak with passion and authority on their subject.

Never underestimate the appeal to your audience of getting to listen to someone who really knows what they’re talking about!

The ‘How to Paint Like…’ series can be found here on MoMA’s Youtube channel here.

If you want to talk to us about ideas for videos that attract and engage viewers email today.

Why Live video will make your audience love you

In our last blog we talked about just why live video streaming is becoming the video marketer’s new best friend.

This week we’re going to explore in more detail how you can use it to reach out to your audience and make them feel more invested in you and your brand than ever before. 

So why does our audience love live video?

audiences-love-videoWith this in mind, interactivity should always be at the heart of your thinking when using live video. If you try to think of it as a truly meaningful way to collaborate with your audience you won’t go far wrong.

How can we best make use of it?

Live Q&A’s are an incredibly effective and relatively hassle free way of utilising the format, and are a good first step. We’ll look in more detail at hosting your first live Q&A in the next few weeks, but for now let’s concentrate on why they’re so popular.

First and foremost they’re a great way of saying to your customers ‘we care about what you think’.

They also provide a fantastic opportunity to humanise your organisation. The somewhat lo-fi nature of these types of broadcast only enhances that feeling of speaking to a real person, and let’s face it, you’re a lot more likely to feel loyalty to a brand if you’ve established some sort of relationship and rapport with the people behind it.

Of course it’s not just about what your customers get out of this kind of broadcast. They can also be immensely valuable to your organisation. The informality of the format really encourages the kind of honest and engaged feedback that you would otherwise struggle to generate in such a short amount of time.

Live Q&A’s also offer a very effective way to demonstrate to your staff just how much you value their knowledge and expertise. By having them front one you’re showing a huge amount of faith in their talents and abilities, which let’s face it, is quite the ego boost!

Ok, so we’ve done a live Q&A, what else can we do?

In short, anything that makes the viewer feel included, engaged and like they’re part of what you’re doing.

Product tutorials are another popular option, again in large part because of their interactivity. The tutor hasn’t covered something you’re desperate to know? Not a problem. Message them in real time and they can get right onto it. You just can’t provide this sort of highly responsive service any other way, and the viewer comes away feeling like they really matter to you which has got to be a good thing right?

Livestreaming from conferences or product launches can also be a great way to make those who can’t be there in person feel valued and part of your story. Yes, you’ll probably want to engage a video agency for something like this where presentation will be more important, but a slickly presented event will have that wow factor that will really get your audience (and competitors!) talking.

And remember, it’s not a case of either going for the professional broadcast or the more lo-fi option; you can incorporate both elements into your strategy for a more interactive and rounded experience (more on this next week!).

Another option is to provide some ‘behind the scenes’ access. We all like to feel as if we’re getting to see something that is normally off-limits and this kind of privileged, VIP treatment can make the viewer feel really appreciated. Again, this can be very easy to provide. Something as simple as a backstage tour at a new product launch or a quick guided tour of the office can have a big impact. Never underestimate how interested people will be in seeing where the magic happens!

Ok. I think I’m starting to get the picture.

Great! In the next blog we’ll look at how you can incorporate all these ideas into a coherent video strategy that will make your audience as excited about your next big product launch or event as you are. See you then!

Interested in livestreaming your next event? Get in touch:

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Live Video is your new best friend

So why do I need live video?  

There’s a good chance you’ve already heard your colleagues talking about the benefits of integrating live video into your organisation’s video strategy, but even still, if you’ve not used it before you could be forgiven for being a little sceptical about its use in a commercial context.

After all, until comparatively recently, corporate video has almost exclusively meant a highly polished and slick looking piece of work that will have gone through many, many stages of careful planning, production and editing to ensure that the finished film is both on-message and reflective of your company’s key values and beliefs.

Obviously with live video you lose some of that control over the final product, but as we’ll discuss in this blog, with careful preparation, live video can be an amazingly powerful and effective weapon in the video marketer’s arsenal, allowing you to interact and engage with your audience in real time, in a way that would otherwise be nigh on impossible.

live-streamWhat are my options?

In a commercial context you have two basic avenues open to you and it’s worth spending some time thinking about which will be most effective for your organisation.


At one end of the scale you have the more ‘lo-fi’ option. This would involve using one of the many popular live video hosting platforms such as periscope or facebook live (there’ll be more on deciding which one will suit you best in a future blog) to live-stream the video yourself from your mobile or tablet device.

This is an incredibly easy and accessible option and you can be up and running in a matter of minutes. 

Whilst the finished product may be rather rough and ready compared with what you’re used to, these platforms all encourage heavy user interaction, so it can be a highly effective way to communicate directly with your audience if used correctly, and can create that vital ‘feel-good factor’ around your brand.

This is a great option if you want to stream something where your primary focus is the video’s content rather than its presentation, for example, broadcasting a live q&a with your Head of Design, or taking your viewer for a candid ‘behind the scenes’ look around your office.

Its low-key feel can actually be a great way at making your organisation feel more human and down to earth, so don’t worry if there’s a bit of camera wobble or your Head of Design’s wearing a scruffy old hoodie for dress-down Friday!

Your audience will love feeling like they’re being given access to something they wouldn’t otherwise get to see.

A Job for the Professionals

At the other end of the scale we have the more high-spec and dare we say ‘professional’ option. Going down this route will require bringing in a specialist video agency, and whilst this will involve a greater initial outlay, it’s worth going to the expense if you want your live stream broadcast to have the ‘wow factor’ that will leave your audience speechless.

This is definitely your best option if you’re looking to live stream something like a keynote speech from a conference or a new product launch, anything in fact, where you’ll appreciate the benefit of multiple camera angles, higher quality sound and visuals and a generally far more polished level of presentation.

You’ll also have the peace of mind of knowing you have professionals on hand who have the knowledge and experience to deal with the logistics of broadcasting such an important event without any technical hitches.

Trust us, you really don’t want to be fretting about whether the wi-fi signal’s going to go down thirty seconds before your CEO takes to the stage!


Hopefully we’ve gone some way to convincing you just how potent a tool live video can be. In the next blog we’ll take a more detailed look at how your organisation can optimise its effectiveness to make your audience engage like never before.

Ready to start talking live video? Contact us today at

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Recruitment videos: When being bold pays dividends

As we discussed in our previous blog there are some things that all potential employees will want to see in your recruitment video, but that doesn’t mean that you have to take a formulaic, ‘by the numbers’ approach to producing it. Far from it. The fact is the more original your approach the more you’ll stand out from the competition.

Of course producing something that is both original, entertaining and also highly successful at marketing your organisation as a great place to come and work is a lot easier said than done, which is why this week we’re providing plenty of inspiration in the form of three videos that really challenge our ideas of what a recruitment video can be and do.


Deloitte’s interactive recruitment video, where the viewer chooses how they’d respond in a series of simulated work situations is a brilliant example of an organisation thinking creatively about their use of video in the recruitment process.

Screenshot from deloitte interactive recruitment videoIt immediately engages the viewer, forcing them to pay close attention and is incredibly effective in communicating the organisations key values and culture in a fun and innovative way.

Remember, whatever sector you’re in, it never hurts to show your more playful side, and Deloitte have done a fantastic job here of making a large, potentially quite daunting, organisation seem approachable, friendly and people focussed.


Bamboo HR

Screenshot from BambooHR fun recruitment video productionThe vast majority of this video
has nothing whatsoever to do with what Bamboo HR’s employees do whilst they’re at work, and it’s genius.

Whilst the video makes it clear that their team work hard it makes it even clearer that the company recognise the importance of having a life outside work too, as well as time to really appreciate it. To this end we see them mountainbiking, swimming with their kids and generally enjoying a good standard of life.

Every frame of this video says ‘we care about the people who work for us’ and who doesn’t want to work for a company like that?


Bartle Bogle Hegarty

Part of your recruitment video’s job is to make your potential employee feel genuinely excited and inspired at the prospect of coming to work for you, and BBH’s stirring 2016 effort does this brilliantly.

Guy sleeping on traffic light Screenshot from Bartle Bogle Hegarty recruitment video They take an unapologetically bold approach, that is as much a rallying cry as it as recruitment tool, and grabs the attention from its opening moments with the statement ‘normal is boring’.

It’s an exhilarating, at time quite provocative journey they’re taking us on here, but their strategy is perfect for a recruitment video aimed at the creative sector, and brilliantly conveys their passion for thinking outside the box.


Recruitment videos can take many forms and sometimes it can pay off to be bold.

Email and talk to us about your video ideas today




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The Social Video Guide: key features of major platforms

With most social media platforms extending the length of videos permitted, and/or developing their video advertising capability, it’s becoming much easier for advertisers and creators to produce content that can be used across platforms. However the small differences in length, auto-play, advertising metrics, and audiences, mean that we have to continue to distinguish between them, and tailor create content.  Here we give you an overview of some of the key differences between the big platforms. 


A key feature across most platforms is that they auto play videos (except YouTube).  This means you really need to grab attention in the first few seconds. Especially on Facebook and Instagram, where audio has to be cued manually with a click. The worst mistake here would be to use voiceover in the first few seconds of a video that most people will never hear. Conversely, with Twitter and Snapchat, we can use visual and audio to immediately grab viewers’ attention.

Let’s look at four platforms – FaceBook, Instagram, Twitter and Snapchat – in more detail.

Video on Facebook

Video publishers have indicated that a huge proportion of views on Facebook are happening without the audio ever being on, up to 85% of their views.

When creating video for Facebook it is advisable that it not only grabs attention without sound, but can be followed to the end without it. This is a new style of video in which arresting visuals are quickly followed by extensive text. And it works! The downside is that releasing the same video content across platforms requires a substantial re-edit, or a complete new film.

In terms of advertising, the tendency towards silent viewing is not affecting user engagement. In fact, although YouTube regularly scores lower costs per view, higher view rates, and high completion rates compared to Facebook, levels of actual engagement are higher on Facebook.

Video on Instagram

In 2016 Facebook-owned Instagram upgraded their video hosting from 15 seconds to 60 seconds; a big shift in the kind of content they are encouraging (advertisers already had this function from January).

Probably this is meant to facilitate the use of the same videos on Instagram and Facebook. Considering Instagram’s artistic bent, their long term strategy has been a slow but sure proliferation of ads that don’t upset the user experience. For this reason branded content tends to take a more artistic aesthetic.

When they rolled out their new 60-second ad format in January to a few carefully chosen companies, the first client was Warner Brothers with a new film trailer. It seems the focus will stay on visual communication, and the platform will avoid Facebook’s text heavy silent video formula. Indeed Instagram said in a statement that their increase in video duration for creative would “give ads a more cinematic feel.”

Successful video ads on Instagram do tend to have a more TV/Cinema approach than the info-graphic one on Facebook. Like this Banana Republic ad.

Video on Twitter

Twitter too has pushed big developments in its video capability, upgrading to 140-second video, from its measly 6 second Vine.

Video tweets have increased by over 50% since the beginning of 2016, and it’s clear Twitter wants to find parity with the other big platforms, both to users and advertisers. These welcome changes mean that it is easier to re-use video content across networks like Facebook and Twitter. The caveat is that Twitter’s auto-play function comes with auto-sound, making it slightly different product than the silent Facebook video.

Twitter is also now offering pre-roll ads that will play before premium publisher video content. This a direct challenge to YouTube pre-roll advertising that could level the playing field.

Video on Snapchat

Snapchat took real time video sharing to the next level with its ten second clips that vanish after one view. The two other big features are Stories and Discover. Stories is an amalgamation of your video clips which reaches your followers all at once. Discover is a stream of branded clips that a user can swipe through. Brands can use both of these functions to communicate with their audiences. Particularly the 13-25 year old audiences that make up Snapchat’s core.

Some great ways that brands are using Snapchat include; behind the scenes clips, product sneak peeks, offers, new team member intros. An innovative clothing company called Wet Seal allowed a 16-year-old blogger to run their Snapchat for two days and received 9,000 new followers.

The app is the fastest and easiest video tool available to your organisation, so if part of your market is that early twenties group, you need to pay attention.

Below is an infographic from Marketing Land which details the video features of the platforms we’ve discussed.

Infographic video features on social media platforms

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Event Video Production: Content Objectives explained

Event Video Producer at workVideo content objectives mustn’t be confused with marketing objectives. The latter is what we want to achieve with the video, and the former is making sure we get the footage we need to do it. With content objectives we are getting down to the brass tacks of the shoot; equipment, subjects and scheduling.

Coming up with content objectives isn’t difficult because it simply means taking your brief one step further alongside your production company. If the event video brief is to show how many guests a new auditorium can hold, one of the content objectives will be a wide shot of the auditorium full of people. Another content objective might be an interview with a key figure that explains why the scale of the room is important. A third could be a welcome speech given to guests in the foyer before the event.

There is, however, more than one way to skin a cat, and so prioritising content objectives is very important.

If time is tight we might have to choose between a time-lapse of the auditorium and that interview explaining its significance. Both will satisfy the objective, but which is the priority? Planning an event video is a series of decisions like this. The client who wants everything could end up with nothing if the video team is stretched too thinly.

If it’s more important to show how many people are at the event, maybe we should save that interview with the artistic director for another time, and focus on the welcome speech where we can see the guests in situ? Maybe we won’t know if we have time until the day, but so long as we are prioritised we can make decisions on the day.

Here is a list of prioritised content objectives for the generic event video described above.

  • One close angle on the key speaker throughout their welcome speech, capturing every word.
  • A variety of wide angles on the key speaker, showing the audience engaging with them in the foreground, to be used in a montage.
  • Interview with the artistic director explaining the function of the new auditorium.
  • VIP guests arriving.
  • Exterior footage ascertaining the location, context and time of the event.
  • Guests networking after the speech.

Even this simple list tells us that the priority is the welcome speech. Only once we have this will we look to capture the remaining content objectives. We can also plan use of A and B cameras if necessary with this information.

What’s more, our client will be free to relax and enjoy the event without worrying about directing the video team!

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What Is Social Video?

What is Social Video? Image of iPad with social app folder

Social video is to long form content, what twitter was to blogging ten years ago. 140 characters eradicated the need for organisations to communicate via carefully crafted blogs posts. Now the big social media players are making it easy to communicate instantly with video hungry audiences. Once the realm of high budget marketing departments, video is now the common tongue.

Why and How to create Social Videos?

The players change but the game remains the same. When the online landscape changes its easy to be swept up in a tide of new jargon, but remember as marketers we keep doing the same thing. Reaching out to our audiences wherever they are and speaking their language. With video making up 74% of online traffic by 2017[1], and the big social platforms all hosting video, its clear where your attention should be.

Our objectives as marketers don’t change either with social video. Whether it’s brand awareness, recruitment, or explaining your service/product, it can all be achieved with social video. And because the distribution channels are taken care of, we can focus on creating the content.

There are some key characteristics of social video that will help you separate it from your broader video strategy.

First of all we are talking exclusively about short form content. With the exclusion of YouTube, social media platforms are specialising in bite size video, reflecting the short attention span of mobile users; Snapchat at 10 seconds, Twitter at 30 and Instagram at 15. This limitation can be a creative asset for marketers, forcing us to say something meaningful quickly, and save the detail for our long form outlets, where user engagement will be higher[2].

Social video also lets go of the industry’s hang up over viral, and embraces a more targeted, disposable type of content. Social video is about short-term wins, and reaching out to specific audiences immediately. Taking weeks to shoot and edit a video for a ten second Snapchat isn’t worth it. Among other things, user engagement tends to be lower with social video than with long form content[3], so we can’t spend too long creating it.

For medium sized businesses to keep up the necessary high frequency of social video, producing content at the same cost as your flagship video content isn’t feasible. A lot of your social video content can be gleaned or recycled from your wider video marketing efforts. For example B-roll footage, IPhone clips from behind the scenes, or simply re-edited content from your long form video.

Everything we know about the share-ability and engagement of marketing with video is still true. Social video is about short form, focused content, easily prepared and quickly consumed. It’s traditional video marketing letting it’s hair down and feeling impulsive.

To discuss your short form video objectives get in touch with or call us on + 44 (0) 207 729 5978




Are Theatre Trailers Honest?

video post by the BBC questioned the suitability of cinematic style trailers for theatre, like the one below we produced for To Kill A Mockingbird. Critics think theatre trailers using cinematic techniques to entice audiences are misrepresenting the stage shows they’re promoting.

Creating trailers for the stage began in around 2007 following the advent of YouTube with the National Theatre among the first to start producing regularly. Lyn Gardner wrote an article at the time about the exciting potential of the theatre trailer, calling the concept “genius”. Now in 2014 the theatre trailer is a staple of marketing campaigns.

Now that theatres are able to produce trailers with good production values there’s a concern that audiences can’t distinguish between movie and theatre trailers, and so the unique traits of a theatrical experience are left by the wayside. The argument goes that by employing uniquely cinematic tools – such as camera movement reveals and so on – the story is being told in a way that won’t translate on stage.

These claims ignore the fact that cinematic storytelling has been used in advertising for decades, to market such narratively rich and dramatic products as perfume and telephones. It would seem film is far more suited to communicating the atmosphere of a play than the attributes of a perfume you can’t smell.

Apprehension of ‘cinematic’ or ‘concept’ trailers may stem from a deeper doubt held by some theatre creatives: that art shouldn’t require marketing at all. The collaboration required on a trailer is greater than other marketing functions and there will be questions over the communication of core ideas. This is a valid point of contention because it is, of course, paramount that a trailer reflects the director’s vision of the play, and the marketing team’s vision of the theatre brand. The stakes are pretty high.

But if the filmmakers are working closely with the creative and marketing teams on the conception of the trailer it can emulate the atmosphere of the play like no other marketing tool. A theatre trailer can give audiences a flavour of the writing, the performances, and the mood of the piece. What we are trying to do as advertisers and filmmakers is sell the strengths of a show, not recreate the live experience as accurately as possible.

The plethora of shows on offer, particularly in London, means that giving audiences concise, digestible decision-making material is key. A trailer can communicate so much more than other mediums and in such a short space of time. The question most theatres are asking themselves is no longer should we be doing it, but how. 



We have a wealth of experience producing videos for theatres and arts organisations. Our unique sense of style and verve, on top of our ability to communicate brands and tell stories, mean our theatre videos stand out from the crowd.

Get in touch with to discuss your next video production.

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Creativity is More Important Than Budget

“The more money you have the more you can do with it, sure. But the less you can say with it.”

Wim Wenders


In the arts, budget for creative video is always limited, but we have found that innate creativity flourishes when big spending is not on the table.

Non-traditional, or guerrilla marketing, has earned the maxim; creativity is more important than budget. Time and again ingenious low budget efforts are the high-visibility campaigns we read about on marketing blogs. Online video has shown a similar trend; most viral videos are neither branded nor have a high production values, they simply speak to people in a unique way. Here are our four reasons that creativity is more important than budget when producing creative video for the arts.

1. Originality

Low budget means you have to be original; you can’t peg yourself to the production values and generic aesthetic of industry leaders or corporate brands. Plagiarism is not an option. So whatever you do it will have to be unique; see this as an opportunity and a challenge to produce creative video content. This brings out the best in your creative team too, and lets you know if you have the right people on your team.

2. Core Messages

What budget constraints do is steer us back towards the essence of the piece itself, and away from ‘ad-speak’. By removing an easy option we are forced to return to the essence of what we are promoting and strive for creative ways of achieving our objectives with video. Pushing past the superficialities and advertising tropes that big budgets can afford (and tend towards) will force us to more truthfully represent the core messages.

3. Film Language

Film is a versatile visual language that lets us show things in many different ways. It’s not a secret; the higher budget hollywood films are not necessarily the best. Once we have drilled down our core messages we work out how these can be communicated with the tools at our disposal. We focus on what we need to do with the camera rather than what we could do ‘if only we had the budget’. There’s no budget for expensive floating dolly shots so we figure out another way to tell the story.

4. Collaborate

Working without a lot of money you tend to pool the only other great resource available; people. Using the energy and input of a variety of stakeholders when money is tight is often the only way to make a creative video project happen. This is particularly true in the arts where here is so much creative depth in collaborations. This can make the creative video process quite iterative, but it does mean arriving at a product everyone is part of and is happy with. It’s also much more enjoyable and inspiring to collaborate with set designers, writers, directors and marketing teams on a creative video project.

The best idea is the one that can stand out and speak clearly, without any bells and whistles on it. We believe our value is in our creativity, our collaborative working practices, and our ability to deliver a product that satisfies your brief no matter what the budget.

At Impact Video we often discuss long term strategies which are formed around the creation of in-house and professional content. To discuss how we can help you get the most out of your video invesment get in touch with or call 020 7729 5978

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The Narrative Arc in Online Video

Essential to good journalism, feature films and novels, the narrative arc is no less important in online video. The arc is the point at which all productions should begin, and return to when things get tricky.

It means planning and structuring your idea around a central thread but does not always mean a three act structure; problem, conflict, resolution. Nor does it necessarily mean fictional storytelling with characters and dialogue.

An arc is simply a direction – it means there is progression and cohesion throughout the video. The Content Marketing Institute neatly refers to it as “editorial focus”. 

The need for a clear editorial focus is often either neglected, or misconstrued as necessitating an epic three act structure (or hero’s journey). A recent Forbes article distinguishes content like customer testimonials, (which they say needn’t have a story arc) from what they call ‘brand stories’ in which story design is integral. But this restriction of narrative arc to a certain type of video is too narrow an application. A narrative arc should be intrinsic to all video content that is intended to engage a user, not merely the problem, conflict, resolution sort. In the two examples below we identify the narrative arc and show how it contributes to the success of simple promotional videos.

This is a short promo by the V&A for their exhibition Heatherwick Studio: Designing The Extraordinary.  It’s very simple and not what might conventionally be referred to as ‘storytelling’, but the video’s effectiveness is rooted in its narrative arc.

The film quickly establishes the subject as a designer at work on a scale model. The pace and editing tell us that we should anticipate the fruits of his labour before the end, immediately giving structure to the film. We are shown the completed design intermittently which tells us that like the video, the exhibition will explore the design process from modelling to installation.

In short the video has a progression; rather than simply showing a designer at various stages of work, we are taken on a cohesive journey about the design process.

In this short by Museum of London, clothing exhibits from the 1920s are explored by way of an imagined night out and some simple motion graphics.

This is much more than a show-and-tell exercise as the head curator puts the items in context and brings them to life through the narrative.

Without any problem, conflict or resolution we have a tight narrative arc that holds our attention in both videos.

Good video content is always memorable and often share-able, and both are enhanced by the narrative arc.

We find it much easier to recall an overarching message or feeling than a series of statements, no matter how interesting at the time. So too users are more likely to share content that can be boiled down to a simple arc.

Finally, the all-important emotional hook is always rooted in the narrative arc.

Creating a satisfying arc is a specialist skill and when scaled up it is arguably as difficult as developing a screenplay. This is why big brands employ teams of experienced writers to script their brand stories. But creating a narrative arc in its most fundamental sense simply means coming up with a strand that gives progression and cohesion to your idea, and should be intrinsic to all online video productions.

Get in touch with to discuss how Impact Video can help you create narrative arcs that captivate your audiences.




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